![]() STOIK PanoramaMaker program offers lens distortion correction and geometrical compensation. Some things just must be corrected in source before you start stitching. Taking the motion into account, the algorithm stitches tiles in a special way, rendering a perfect panorama all the way. STOIK PanoramaMaker editor accounts for unwanted movements by including an Object-Preserving Blending algorithm. Wind can cause unwanted motion, making the final panorama blurred or misshapen by stitching an object in its different motion phases. The available Advanced Mode offers full manual control over photo stitching and matching the tiles.Ĭapturing a good panorama in a vivid setting is not easy. Combining a fully guided, step by step workflow with advanced mathematic approach, STOIK Panorama Maker graphic software can produce the highest quality panoramas even from poorly aligned, tilted and mismatched images shot in snapshot mode and at different zoom levels completely automatically. The photo program interface is quite simple, user-friendly and attractive. STOIK Panorama Maker editor can turn a set of less than perfect snapshots into great-looking panoramic images. The panorama stitching tool can assemble tiled panoramas from several rows of photos to multi-row panorama, and will automatically stitch pictures taken at different zoom levels.Ĭreate Perfect Panoramas with Imperfect Images Turn any set of overlapping photos into a high-quality panoramic image! STOIK Panorama Maker graphic program will account for the differences in under and over exposure and white balance, camera tilt and partial overlapping completely automatically. Make gorgeous panorama images with photos with STOIK Panorama Maker! Media management and photo editing tools are designed for efficiently organizing your photo collection. STOIK Panorama Maker software – is a powerful graphic editor to build panoramic images in few clicks. STOIK Panorama Maker photo editor (Windows version) will help you to transform (warp) your pics, photos, portraits into excellent panoramic masterpieces whose angles of view can achieve 360 degrees. Panorama pictures always look awesome and alive to admire. STOIK Panorama Maker software is panoramic photo maker and an image stitching program, that let you make huge, surround-view panorama photo from an array of single photographs. By contrast, most other software take at least 50% more time to stitch the same panorama.Create perfect panorama images with photos using STOIK Panorama Maker Only Microsoft ICE managed to finish slightly faster at 28 seconds. For the standard 3 x 8 megapixels panorama used in other reviews, it took only 32 seconds to stitch and save the whole panorama. The speed of Panorama Maker 5 Pro is exceptional. The alignment algorithm used by Panorama Maker is quite forgiving though and handles images that are out of alignment or differ slightly in brightness. When starting this software for the first time, there is a dialog giving tips on panorama photography, similar to those presented in the How To Make a Panorama Tutorial. There is no choice of projections, so some results may appear differently distorted than anticipated. Sharpness is reasonably well preserved with mostly invisible seams. Image quality of Panorama Maker 5 Pro is good. Despite the presence of a Next button, there is no next step, indeed Panorama Maker 5 Pro is that easy to use! Output Quality & Performance This is also where the panorama can be saved to disk. Or, one can go into a full-screen preview of the entire image or a perspective-window into the panorama. The tools are responsive enough that it is possible to view changes as they happen.įor the Panorama Editor window, it is possible to go to manual stitching mode and manually place images relative to each other. A minimal set of tools is available here: Crop, Rotate and Brightness/Contrast. The editor is therefore capable of showing a very accurate preview of panoramas. The software actually performs an initial image alignment and stitch operation as soon as Next is clicked on. ![]() Once a more than one image is selected, either automatically or manually, one can click the Next button to bring up the Panorama Editor window. Instead of using image analysis to determine which images form a pa norma, Panorama Maker 5 Pro uses EXIF data to automatically select images which could be part of a panorama. Media is placed front and center and the automatic panorama stitching feature is delegated to a toolbar at the bottom of the main window.Ĭlicking on an image selects it. The whole interface is minimalist and extremely easy to navigate. A pane on the left shows folders and the main window area lists images as scalable thumbnails. Starting Panorama Maker brings up a media-browser view, similar to Adobe Bridge.
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![]() Our conceptual model includes five stream types: 1) bedrock channels entirely confined by exposed bedrock and devoid of persistent alluvium 2) bedrock with alluvium channels at least partially confined by bedrock but containing enough alluvium to create bedforms that persist through time 3) incised alluvium channels bound only by unconsolidated alluvial material into which they are incised 4) braided washes that exhibit multi-thread, braided characteristics regardless of the composition of confining material and 5) piedmont headwater 0-2nd order streams (Strahler) confined only by unconsolidated alluvium and which initiate as secondary channels on piedmont surfaces. To investigate the influence of channel characteristics on riparian vegetation in the arid southwestern United States, we develop a geomorphic classification for arid ephemeral streams based on the degree of confinement and the composition of confining material that provide constraints on available moisture. Relatively infrequent hydrologic disturbances in dryland environments are responsible for creation and maintenance of channel form that supports riparian communities. Interactions between hydrology, channel form, and riparian vegetation along arid ephemeral streams are not thoroughly understood and current stream classifications do not adequately represent variability in channel geometry and associated riparian communities. ![]() The primary disadvantage is that temperature profiles represent the continuous percolation rate at a single point in an ephemeral channel rather than an average seepage loss from the entire channel.ĭistinctive channel geometry and riparian vegetation: A geomorphic classification for arid ephemeral streams The most significant advantage of the use of sedimentâ€temperature profiles is their robust and continuous nature, leading to a longâ€term record of the timing and duration of channel losses and continuous estimates of streambed percolation. The difference is reasonable since channel losses include both vertical and nonvertical component of channel loss as well as potential evapotranspiration losses. ![]() Comparisons of temperatureâ€based streambed percolation rates with surface waterâ€based channel losses indicate that percolation rates represented 30% to 50% of the total channel loss. These results are combined with published results to develop conclusions regarding the accuracy of using vertical temperature profiles in estimating channel losses. Temperatureâ€based percolation rates for three ephemeral stream sites are compared with available surface water estimates of channel loss for these sites. ![]() The present work provides a detailed examination of the basis for using heat as a tracer of stream/groundwater exchanges, followed by a description of an appropriate heat and water transport simulation code for ephemeral channels, as well as discussion of several types of temperature analysis techniques to determine streambed percolation rates. Earlier work suggests that analysis of streambed temperature profiles is a promising technique for estimating streamflow patterns in ephemeral channels. The extremely transient nature of ephemeral streamflows results in shifting channel geometry and degradation in the calibration of streamflow stations. Sarma, LisaĬontinuous estimates of streamflow are challenging in ephemeral channels. Analysis of temperature profiles for investigating stream losses beneath ephemeral channelsĬonstantz, Jim Stewart, Amy E. The tank is outfitted with some of the most sophisticated armour ever developed, and has been demonstrated repeatedly to be efficient in actual real-world battle. The idea stems from the notion of cryptography, where it’s sacrilege to base the security of a cryptographic framework on the secrecy of the algorithm.Ī potent instance of where obscurity is leveraged to enhance security positioning is camouflage. There’s security by obscurity: if the secret ever goes out: it’s the end. So if you do not know how to execute that, it’s really secure, but after you know it’s trivial to bypass. The latter is bad.Īn instance of security through obscurity is when somebody has a costly home equipped with a sophisticated lock system, but the way in which you open it is merely by jiggling the handle. The critical determination for if obscurity is good or bad reduces to if it’s being leveraged a layer atop robust security, or as a substitute for it. When integrated to a system that currently has robust controls in place, however, obscurity not just doesn’t hurt you but can be a robust inclusion to a cumulative security positioning. ![]() There’s minimal debate with regards to whether security by obscurity is bad per se, this is the case as it implies that the secret being obscured is the key to the entire system’s security. ![]() The terminology has negative connotations within the infosec community – typically for the wrong reason. A ton of us are acquainted with a concept referred to as security by obscurity. ![]() For that price, I absolutely would buy it, even as a photographer who likes to keep programs to a minimum, and doesn’t like to fork out for new ones. I was pretty much sold on the program by this point, but I had a free version, would I actually pay for it? I was pretty surprised to see that it sells for around A$100, depending on which version you choose. While Portrait Pro can smooth out wrinkles and pores, it can also be used very subtly without loosing the natural look of your subject.Īfter playing with some faces, I thought all well and good but now the neck looks weird and the face and body don’t match, but turns out you can adjust those too. You can also batch process with the Studio Max version and work directly with Raw files. Portrait Pro popped up with the auto version, it gave her quite the tan and sparkly, but kinda spooky eyes. So I decided to put the program through its paces with a poorly lit, overly grainy, weirdly white balanced shot of a dear friend who looks lovely no matter how terribly I might light her. I had only been mucking about and I turned an unusable portrait shot into something the subject of the portrait really liked. ![]() That had me thinking this program certainly has potential. I won’t show you the results, because the before shot was a not exactly flattering lighting test, when I say not flattering, a beautiful woman looked more like a potato than herself, and I would like to keep the friendship. I did show my friend both images and she really liked the after shot. It was pretty fun, with a bit of practice I eventually turned my blonde, brown-eyed, no make-up friend into a saucy red lipped, blue eyed, red head vixen with an uncanny resemblance to pop star Kylie Minogue. I tested out the sliders and their effects, then went to town. The simple interface, and pop up instructions made it easy to just jump right in. This one had the correct number of eyes, so I started playing around. Rather than succumb to instructions I tried another image. It came up with an interesting eye situation and I thought, oh dear, this is not good. Portrait Pro did its thing and opened the before and its auto processed after image. All good things, but I’m not one for instructions and just opened the program with a test image. There are instructional videos, tutorials, a forum, a support page, and a manual to download on the website. ![]() The download and install were super easy, off to a good start. So this review is not three versions outdated and while there are a few changes it is fundamentally the same product. When our Digital Photography School editor offered a free download of Portrait-Pro 12 Studio Max to test out and possibly review I figured this was a perfect opportunity to see if this kind of thing is something that a cynic like me, I might actually find useful.Įditor’s note: we’ve been informed by the company that there are no versions 13 and 14 (they skipped those numbers) and the newest v15 was released Sept 17th, 2015 (after this review was published). I want my subjects to look like themselves, in their best light of course, but not like some barbie doll cyborg with lifeless eyes. I always preferred the natural before image to the over processed, plastic looking after images. I had looked into a retouching program briefly, but after clicking on a few sites I never got further than looking at the before and after samples. I like to keep a natural look, using Photoshop only for any minor retouching needed. Working mostly in fine art portraits I’ve never felt the need to try a retouching program. |
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